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Escritores Españoles En Hollywood Y Las Dobles Versiones (1930-1932)

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Escritores Españoles En Hollywood Y Las Dobles Versiones (1930-1932) Escritores Españoles En Hollywood Y Las Dobles Versiones (1930-1932) Item Type text; Electronic Dissertation Authors Pérez-Blanes, Joaquín Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 00:55:31 Link to Item http://hdl.handle.net/10150/626750 ESCRITORES ESPAÑOLES EN HOLLYWOOD Y LAS DOBLES VERSIONES (1930-1932) by Joaquín Pérez-Blanes __________________________ Copyright © Joaquín Pérez-Blanes 2017 A Dissertation Submitted to the Faculty of the DEPARTMENT OF SPANISH AND PORTUGUESE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN SPANISH In the Graduate College THE UNIVERSITY OF ARIZONA 2017 The University of Arizona 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Joaquín Pérez-Blanes ! 4! AGRADECIMIENTOS Mi más sincero agradecimiento al Department of Spanish and Portuguese al completo, por su incuestionable labor académica y humana, comenzando en la oficina 554 de Modern Languages hasta llegar al personal del último de los despachos que se hayan en los sótanos del edificio; prefiero no dar nombres para no olvidar ninguno, pero aquí queda mi agradecimiento. Gracias a Isela, Mary Portillo, Mercy y Nicole por su profesionalidad. Agradezco al Dr. Eliud Chuffe y a Linda Luft su candidez y su trato amable cuando llegamos, todavía inexpertos, a las primeras reuniones de Spanish Basic Program. Gracias a ellos la enseñanza adquirió siempre un destello amable y positivo. Agradezco al Dr. Richard P. Kinkade su extraordinaria sabiduría, que reparte con una honestidad y una sencillez abrumadora, a la Dra. Katia Bezerra por sus lecciones de vida y su comprensión. Doy las gracias a La Filmoteca Española, en la persona de José Luis Estarrona, por abrirme las puertas de los archivos siempre que fue necesario, a la Biblioteca Pública de Llanes, donde encontré unos libros imprescindibles para tratar este tema y al Profesor Alfonso Puyal, quien me regaló el libro de Heinink y Dickson. A Toshiro, nickname de un empedernido cinéfilo a través del que conseguí un par de versiones hispanas desaparecidas. A los Profesores Jesús Barquet y Álvaro Baquero Pecino, que me abrieron la puerta a esta aventura. A Manolo y Marié, hermanos, padres, amigos y confidentes, por un sin fin de maravillosos momentos compartidos en exilio y armonía. A Eliana Rivero que es la humanidad hecha persona. A mis amigos de siempre, por su paciencia inacabable y por guardarme un hueco en las celebraciones a las que no acudí por estar inmerso en este proceso. A Héctor Romo, Manu Martín Barros y José Díaz-Meco, ellos saben bien por qué. A Pedro y Nuria, mis hermanos, por estar siempre ahí. A Mercedes, por su paciencia y apoyo infinito. Sin ella, la toalla estaría ahora tirada por el suelo. Por último, agradezco especialmente a mi Comité la sabiduría y las enseñanzas que me han regalado. Al Profesor Malcolm A. Compitello por su clarividencia, a la Profesora Faith S. Harden por su asombrosa lucidez y, en particular, a la Profesora Judith A. Nantell, a la que admiro y venero profesional y personalmente. Ella es la columna vertebral de esta disertación. Gracias de corazón. ! 5 DEDICATORIA A mis padres, por su impecable educación y entrega. A Mercedes, con quien guardo la deuda del amor eterno. 6 TABLA DE CONTENIDOS LISTA DE FIGURAS ................................................................................................................ 7 LISTA DE TABLAS ................................................................................................................. 8 ABSTRACT ............................................................................................................................... 9 INTRODUCCIÓN. .................................................................................................................. 11 1. Contexto histórico: Del cine mudo al cine sonoro. .......................................................... 11 2. Una coyuntura creativa. ................................................................................................... 13 3. Investigaciones anteriores sobre las dobles versiones. .................................................... 14 4. La disertación y la tesis principal. ................................................................................... 16 5. Estructura de la disertación. ............................................................................................. 18 5.1. Capítulo 1. Orígenes de las dobles versiones. ........................................................... 18 5.2. Capítulo 2. Escritores españoles en Hollywood. ...................................................... 19 5.3. Capítulo 3. Las dobles versiones. Análisis comparativo. ......................................... 20 6. Últimas observaciones. .................................................................................................... 22 7. Conclusión. ...................................................................................................................... 23 CAPÍTULO 1. ORÍGENES DE LAS DOBLES VERSIONES .............................................. 25 1.1. La transformación sonora. ............................................................................................ 25 1.2. Las versiones multilingües. ........................................................................................... 41 1.3. Las dobles versiones: Inglés y español. ........................................................................ 55 1.4. Conclusión. ................................................................................................................... 64 CAPÍTULO 2. ESCRITORES ESPAÑOLES EN HOLLYWOOD ........................................ 66 2.1. La llamada americana. .................................................................................................. 66 2.2. La necesidad de dramaturgos. ....................................................................................... 72 2.3. Los cosmopolitas en Hollywood. .................................................................................. 78 2.3.1. Edgar Neville, un epicúreo en Hollywood. ............................................................ 81 2.3.2. José López Rubio. La virtud granadina. ................................................................ 88 2.3.3. Enrique Jardiel Poncela, el ingenio del humor. ..................................................... 95 2.3.4. Antonio de Lara “Tono.” Dolce far niente en Hollywood. .................................. 101 2.4. Eduardo Ugarte. La desdicha del olvido. .................................................................... 103 2.5. El caso singular de Baltasar Fernández Cué o Baltasar Pola. ..................................... 107 2.6. Conclusión. ................................................................................................................. 115 CAPÍTULO 3. LAS DOBLES VERSIONES. ANÁLISIS COMPARATIVO. .................... 117 3.1. Introducción. Missing reels and found reels. .............................................................. 117 3.2. Metodología para el análisis fílmico. .......................................................................... 120 3.3. The Big House (George Hill 1930) / El presidio (Ward Wing 1930) ......................... 125 3.4. Min and Bill (George Hill 1930) / La fruta amarga (Arthur Gregor 1931) ............... 141 3.5. Dracula (Tod Browning 1931) / Drácula (George Melford 1931) ............................ 158 3.6. Conclusión. ................................................................................................................. 175 CONCLUSIONES FINALES ................................................................................................ 177 NOTAS .................................................................................................................................. 184 OBRAS CITADAS ……………………………………………………………………….. 187 7 LISTA DE FIGURAS Figura 1. Cartel de The Bad Man (Clarence Badger 1930) ……………………..…. 110 Figura 2. Paradigma de Syd Field (The Screenwriter’s Workbook 44) ...…………. 123 Figura 3. Postal promocional de The Big House …………………………………... 126 Figura 4. Cartel de El presidio .…………………………………………...……...... 127 Figura 5. Doble fotograma. The Big House / El presidio. Alcaides ………………. 130 Figura 6. Doble fotograma. The Big House / El presidio. Butch y Morgan ………. 130 Figura 7. Doble fotograma. Butch (Wallace Beery) y Butch (Juan de Landa) ……. 133 Figura 8. Doble fotograma. Anne Marlowe, Ana Marlowe ………………….......... 133 Figura 9. Planos de la secuencia entre Oliver, el chivato y Kent Marlowe ……….. 135 Figura 10. Doble fotograma. Kent esconde el cuchillo ………………………….... 136 Figura 11. Doble fotograma. Morgan descubre la traición
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